Last week, members of China’s television, radio and online entertainment sectors were invited to attend a symposium in Beijing on the theme Love the party, love the country, protect morals and art. They were asked to abandon vulgarity, hedonism and the cult of cash. and “extreme individualism”. These indistinct mandates come amid China’s strongest cultural repression in years. Movie stars like Zhao Wei have been mysteriously hidden in his memory, his movies completely removed from streaming platforms, his credits deleted from movie news sites. “Once you touch the red line of law and morality,” warned the people’s Daily state spokesman, “you will succeed in the final line of the performing arts route. “If the precise nature of this “red line” remains unclear, some other publisher made a more precise point on the subject: Chinese films will now have to be more socialist.To get more chinese culture news, you can visit shine news official website.

American Idol-style television screens were banned; Next on the list are karaoke songs that do not “promote socialist core values. “These moves are part of an attempt to end the “cult of Western culture. “True socialism has no time for coal, so the sale of sex toys has banned live broadcasts hosted on e-commerce sites. A week before the symposium, the Party focused on the express challenge of effeminate male television celebrities: “Put an end to faggot men and other abnormal aesthetics,” they told broadcasters. Days later, video game companies Tencent and NetEase were ordered to remove content that encourages effectiveness due to recent restrictions placed on Chinese children’s video games.
All this machismo begins to attract the admiring looks and the noises of approval of Westerners concerned about the supposed feminization of their own culture, but those ethics classes are given through the worst instructor imaginable. minorities in concentration camps where the prettiest women are raped every day, infrequently with electric batons. It is a country where the founder of an orphanage for destitute youth is arrested, tortured and then sent to a criminal for 22 years. it was declared an “illegal organization” and the young people it had rescued were thrown into the street. In Communist China, civil society is still suffocated in kindergarten.

The Party’s stark choice for all this chaos of sex, pop, and rainy bird is “traditional Chinese culture, revolutionary culture, and complex socialist culture. “Numbers two and three on the list imply that Beijing understands culture as much as morality. George Orwell obviously saw the challenge in the years before the war. As he observed in The Road to Wigan Pier, “Almost any and every thing that can be described as socialist literature is boring, drowsy, and evil. . . Reading the value of e-books is on the other side. . . Meanwhile, socialism has produced no literary value.

This fact is demonstrated through the depressing state of the Chinese literary scene. When Anna Sun (assistant professor of sociology and Asian studies at Kenyon College) analyzed the paintings of fashionable Chinese writers, she found that almost all of them had been inflamed by socialist language. dating back to the Mao era – a clumsy jumble of communist jargon and Mao-ti (Maoist literary form). In fact, only artists and intellectuals speak this language – everyone does, from dinner at a place to eat that his friend carelessly asks “Xiaomie [annihilates] the remains”, to the young mom who tells her little one, how he struggles to rain on the bus, “Jianchi![Have determination!]”

Originally conceived to constitute the original voice of the proletariat, Mao-ti is a language that is “repetitive, predictable, crude and devoid of aesthetic value. “Sun argues that today’s foremost Chinese novelists owe it all to their translators. they were trained in the acts as an idea to tighten the trap and therefore cannot think or write with the precision and truthfulness that are required of true wonderful novelists. In English.
Even the Soviet Union had its Bulgakovs and Pasternaks, of course, and there is no doubt that art flourishes in an environment of oppression. But from the beginning, the CCP drove the totalitarian momentum more than its predecessors, enough that its supply of herbs was never allowed to expand the wonderful literary voices. This was not the case in pre-revolutionary China. Sun quotes shen Congwen, Wang Zengqi, Lao She, Bing Xin, Qian Zhongshu, Fu Lei, Eileen Chang with admiration. In some cases, the editor’s schooling took a stand before Mao’s inauguration, allowing them to expand their voice before being exposed to infection. Chang (widely regarded as China’s largest short story editor of the twentieth century) even participated in re-schooling sessions once the Communists were in charge, however, it made no difference. His writing still had too much complexity, too much depth, too much voice of his own. Unable to pass to his crude level, he went to Hong Kong.